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Published by Film at Lincoln Center

The Film Comment Letter

Remembering Amos Vogel: Be Sand, Not Oil

By Steven & Loring Vogel
November 15, 2021
What's left behind: Amos’s sons recall their father’s political ideals, which they argue were always inseparable from his artistic ambitions

Remembering Amos Vogel: There Are No Accidents

By Wendy Keys
November 15, 2021
True to his nature: Wendy Keys, Secretary of the Film at Lincoln Center Board of Directors, writes a poignant note recalling her days as a festival assistant under Amos Vogel in the ’60s

Film Comment Recommends: Labyrinth of Cinema

By Leonardo Goi
November 8, 2021
Too close to the sun: Nobuhiko Obayashi’s final film is a dazzling three-hour epic bristling with political and affective gestures

Polished Drafts

By Steven Mears
November 8, 2021
Fit to print: Wes Anderson’s star-packed anthology The French Dispatch, though a bit too finicky, acheives moments of genuine grace

Film Comment Recommends: The Films of Mario Ruspoli

By Clinton Krute
November 1, 2021
Living rough: the veneer of vérité realism in this new-to-streaming collection of short docs gives way to something far more unplaceable

Review: Hail the New Puritan

By Chloe Lizotte
November 1, 2021
Salem’s just up the road: Charles Atlas’s 1986 fictionalized doc celebrates “the exuberant anarchy of limbs moving through space.”

Grief in Relief

By Corina Copp
November 1, 2021
Emerald cities: In Joanna Hogg’s The Souvenir Part II trauma and pain are transformed, through arduous self-examination, into art

Just Deserts

By Michael Sragow
October 25, 2021
Shifting sands: Denis Villeneuve’s Dune typifies the current mania for world-building over character-building

Secrets and Lies

By Manu Yáñez Murillo
October 18, 2021
Birth of tragedy: the search for truth, both personal and historical, is the driving force of Parallel Mothers, Pedro Almodóvar’s most openly political film to date

Interview: Joachim Trier

By Mark Asch
October 18, 2021
Common people: the Norwegian director discusses his latest, a shape-shifting romantic comedy of self-realization, The Worst Person in the World